‘In a Violent Nature’ Movie Review: A Hyper-Gory Slasher That Mostly Sticks To Its Effective Perspective Switch
Photo from IFC
From Jeff Nelson
The slasher movie undoubtedly holds a special place in Chris Nash’s heart, firmly digging his rusty hook directly into the meat of the subgenre’s longstanding tropes. In a Violent Nature is a grotesque mixture of Friday the 13th, Hatchet, and Gus Van Sant’s slow cinematic realism. The on-screen carnage exceeds the bloodshed of the typical R-rated gorefest that prioritizes style over substance. It works when it fully commits to the perspective switch from prey to hunter.
A group of camping teenagers finds a locket near a collapsed fire tower in the woods, unknowingly awakening Johnny (Ry Barrett), known by locals for his place at the center of a macabre urban legend. His vengeful spirit returns to his rotting corpse, hellbent on retrieving the locket and killing all those who are unlucky enough to exist in his proximity.
The movie opens with faceless, anonymous voices who snatch a golden locket hanging from a pole, as an angry Johnny crawls from his resting place to track down the precious object. In a Violent Nature sells us a slasher film from the perspective of the unstoppable killing machine. When he happens upon the group of young adults responsible, we finally see their faces and hear their names for the first time. Their motivations, relationships, and personalities are intentionally glazed over, evident from the opening scene that refuses to show their faces. It isn’t about their chances of survival, but the casual nature of the violence being inflicted upon their bodies. It’s approached as casually as a predator pursuing its prey in nature with an extreme edge. Many of the kills are so drawn out that they lack the sudden shock and uneasiness the slasher genre is known for when the killer appears from the shadows to go for the kill. This enhances some of the death sequences and dampens others.
Early in his path of destruction, Johnny comes across the ranger station, where he happens upon his mask – an antique fireman’s oxygen mask – and his primary weapon – hooks on a chain. That doesn’t mean he shies away from other nearby deadly objects. There’s one body-breaking kill sequence publicized to be so horrific that it left an audience member vomiting at an early screening, but the over-the-top nature of the scene makes it comedic. The more wince-inducing kills come from the simpler kills that are no less graphic but far more effective. Nash’s practical effects look better than the CGI sludge Hollywood studios bring to their horror flicks, even in the shots where flesh very obviously turns into a prosthetic.
Johnny himself won’t go down in the slasher icon hall of fame. He’s a product of the subgenre’s inspirations, rather than a character all his own. He’s a force of nature exacting brutal set pieces, although he isn’t particularly memorable. Pierce Derks’ cinematography successfully blends nostalgic imagery, while simultaneously capturing the forest’s stillness as Johnny stalks his victims. In a Violent Nature has no score and is strangely absent of any chase sequences, opting for Johnny slowly marching his way through the setting’s lush greenery.
Unfortunately, Nash betrays his own vision when he pulls the perspective away from Johnny and gives it to one of the humans. It situates the movie’s message in a clearer context via the most dialogue-heavy portion of the runtime. Interestingly, this is where Nash strikes his greatest moment of tension, but it greatly diminishes the framing established to this point.
In a Violent Nature is a slasher flick we’ve seen before, but innovation in the form of mostly situating the story in the killer’s unstoppable perspective, exceedingly graphic kills, and a slow-burn approach gives it an admirable edge. There aren’t many modern slasher films out there pushing the boundary quite like this, yet Nash does so while still holding firmly onto his love for the greats of the past. He relies too much on the tired tropes and disappointingly backs down from his own POV switch-up, but there’s enough here for core slasher fans to sink their hooks into.
Rating: 3/5
In a Violent Nature hits theaters on May 31st, 2024.
